From a technical standpoint, 'The mountain' ('Dag') is pretty great. The filming locations provide us with outstanding natural beauty to enjoy with image quality that is crisp and clear. Sound design is likewise pristine. Blood effects and makeup, wardrobe, and props all look good. I think the chief actors are fine. I also admire the core concept of the film: Two soldiers, at odds with one another, are forced to work together when a routine mission goes far astray under adverse conditions high on a mountain.
I admit I was curious to watch in no small part because the root premise reminded me, superficially, of the 'Star Trek: Deep Space 9' episode 'The ascent' - two generally opposed individuals, working in common cause. With that central focus in mind, I think writer-director Alper Çaglar guides his small primary cast into some neatly arranged scenes, and captures some particularly swell shots. If 'The mountain' were tightly focused on the active narrative, it would have benefited greatly.
Unfortunately, that's not what we actually get. The film's original score is frankly over the top, adding grossly dramatic flair that's overwrought and overbearing. Frequent flashback scenes provide unnecessary background for protagonists Oguz and Bekir in past moments that are dubious at best, maudlin at worst, and mostly just awkward or counterproductive. Dialogue commonly includes absolutely superfluous, tasteless homophobic slurs, and where it isn't concentrated on the plot atop the mountain it broadly echoes the same tawdry slant. The rare kernel of profundity that 'The mountain' has to impart is lost, subsumed amidst gaudy embellishment and otherwise poor writing so garish as to be grotesque.
As if all this weren't bad enough, the picture is saturated through and through with grandstanding so horridly heavy-handed as to be arrogant. Patriotism! National pride! Service! Army, hoo-rah! Such blatantly kitschy pretension would be direly unwelcome and deservedly criticized in a Hollywood blockbuster; for a different country's military to be the apple of a feature's eye is no better. A few key words come to mind, like haughty, condescending, stuffy, uptight, smug, and obnoxious. Blech!
It's a shame, really. 'The mountain' could have been a short film of certainly no more than half its final length of 90 minutes without meaningfully sacrificing any substance. That short could easily be a plainspoken survival thriller - further cut or simply revise a great deal of dialogue, do some pick-up shots focused on the core premise - presto, a winner. That short could also easily maintain the spirit of what the full-length feature represents; careful writing, editing, sequencing, and overall consideration would have allowed for much more sparing use of flashback scenes to be significantly more impactful, and for what wisdom the screenplay has to convey to readily flourish.
But that hypothetical short is not what 'The mountain' is. The execution is dressed up so ostentatiously as to be vulgar. The fundamental story beats of the active plot are great, and the technical craft is on point; for this, I wish I could say I like the movie more than I do. Yet almost everything else is questionable in the least, and emphatically dispensable at worst, making me wonder I'm not being too generous as it is in how I regard the final product.
If you can't get enough of go-getter, chest-beating, jingoistic military bravado, and you don't care about how overblown or tacky it may be - well done, this is the movie for you. For anyone else, I can't think of a situation in which I'd recommend 'The mountain.'
It had potential. That potential was wasted.
I admit I was curious to watch in no small part because the root premise reminded me, superficially, of the 'Star Trek: Deep Space 9' episode 'The ascent' - two generally opposed individuals, working in common cause. With that central focus in mind, I think writer-director Alper Çaglar guides his small primary cast into some neatly arranged scenes, and captures some particularly swell shots. If 'The mountain' were tightly focused on the active narrative, it would have benefited greatly.
Unfortunately, that's not what we actually get. The film's original score is frankly over the top, adding grossly dramatic flair that's overwrought and overbearing. Frequent flashback scenes provide unnecessary background for protagonists Oguz and Bekir in past moments that are dubious at best, maudlin at worst, and mostly just awkward or counterproductive. Dialogue commonly includes absolutely superfluous, tasteless homophobic slurs, and where it isn't concentrated on the plot atop the mountain it broadly echoes the same tawdry slant. The rare kernel of profundity that 'The mountain' has to impart is lost, subsumed amidst gaudy embellishment and otherwise poor writing so garish as to be grotesque.
As if all this weren't bad enough, the picture is saturated through and through with grandstanding so horridly heavy-handed as to be arrogant. Patriotism! National pride! Service! Army, hoo-rah! Such blatantly kitschy pretension would be direly unwelcome and deservedly criticized in a Hollywood blockbuster; for a different country's military to be the apple of a feature's eye is no better. A few key words come to mind, like haughty, condescending, stuffy, uptight, smug, and obnoxious. Blech!
It's a shame, really. 'The mountain' could have been a short film of certainly no more than half its final length of 90 minutes without meaningfully sacrificing any substance. That short could easily be a plainspoken survival thriller - further cut or simply revise a great deal of dialogue, do some pick-up shots focused on the core premise - presto, a winner. That short could also easily maintain the spirit of what the full-length feature represents; careful writing, editing, sequencing, and overall consideration would have allowed for much more sparing use of flashback scenes to be significantly more impactful, and for what wisdom the screenplay has to convey to readily flourish.
But that hypothetical short is not what 'The mountain' is. The execution is dressed up so ostentatiously as to be vulgar. The fundamental story beats of the active plot are great, and the technical craft is on point; for this, I wish I could say I like the movie more than I do. Yet almost everything else is questionable in the least, and emphatically dispensable at worst, making me wonder I'm not being too generous as it is in how I regard the final product.
If you can't get enough of go-getter, chest-beating, jingoistic military bravado, and you don't care about how overblown or tacky it may be - well done, this is the movie for you. For anyone else, I can't think of a situation in which I'd recommend 'The mountain.'
It had potential. That potential was wasted.